Alter Bridge's 'Alter Bridge' - Album Review

At one stage during the past couple of years it looked as if the Flordia-based hard rockers Alter Bridge were on some kind of hiatus. In more recent times the band has co-existed alongside the solo careers of both frontman Myles Kennedy and guitarist Mark Tremonti, as well as the former's work with Slash, but with the return of Creed in 2023, as Alter Bridge's touring cycle for 2022's Pawns & Kings (which I reviewed here) came to an end, it was likely that Alter Bridge would move down the pecking order - at least for a while. That is certainly how things seemed for a while. Tremonti, alongside fellow band members bassist Brian Marshall and drummer Scott Phillips, has been touring a lot with Creed over the past couple of years - whilst also releasing a new solo album and taking it on the road. Kennedy has also recently released a new solo album, which he has spent time touring, as well as spending a lot of time on the road with Slash. Perhaps, though, after seven studio albums, everyone involved in Alter Bridge just needed to do other things for a while. The Creed reunion has seemingly been a success, although the pre-Alter Bridge band were never as much of a big deal over here as they were in the US, and Kennedy has remained active and creative. Interviews with both Kennedy and Tremonti over recent years also seemed to downplay any imminent Alter Bridge activity. Something would come along at some point, they would say, but they were unsure when. As such, it just seemed like the band were not a priority for a while - but this clearly changed last year, as the four band members reconvened, alongside ever-present producer Michael 'Elvis' Baskette, to write and record Alter Bridge's eighth studio album. It, along with its touring cycle, which kicked off earlier this week, was announced quite a few months ago now - so the lead up to this latest, self-titled, Alter Bridge album has been something of a long one. Perhaps, given the relative lack of activity and news in the preceding few years the band wanted to get the message out there early and slowly build some interest in advance of the album dropping - but that time period seems to have flown by, as the album dropped through my door last week following its early January release. January is not always an especially busy time for new album releases, with such usually picking up in February and March. January 2026 is quite busy compared to normal, then, with, alongside Alter Bridge, Kreator's new album dropping yesterday and Megadeth's new and final opus due out next week. Hard rock and metal fans are being well-treated early this year, then, and Alter Bridge's latest effort is certainly a fine way to kick things off from a new release perspective. I am not sure exactly what I expected from the album, but I have been enjoying it perhaps more than I expected to. I think that the band's first four albums are fantastic, and some of the best modern, mainstream hard rock/metal releases of the 21st century, but the more recent efforts have been patchy. 2016's The Last Hero (which I reviewed here) was a poorly-produced and bloated album that failed to stick the landing, 2019's Walk the Sky (which I reviewed here) was surprisingly strong and memorable, but not up to the standard of the first four, whilst the aforementioned Pawns & Kings upped the heaviness at the expense of some of the band's core melodic traits. In some ways, Alter Bridge feels like a combination of the last two albums. It is certainly similarly heavy to Pawns & Kings, but the emphasis on melody is back in a big way. It is a stronger effort in line with Walk the Sky in my view, then, and a worthy entry into the canon.

With the album's 12 tracks clocking in at just over an hour, there is quite a bit to digest here - but the classic Alter Bridge sound is well and truly on show throughout - albeit with some of the additional heaviness of the last album retained. Kicking off with Silent Divide, the album opens with a pick scrape - before the first of many excellent riffs kicks in. A mid-paced and moody rocker, Silent Divide is very much representative of the darker side of the band's songwriting over the years - but the atmosphere created by the somewhat doomy riffing and headbanging grooves is offset by plenty of melody. Kennedy remains a great hard rock vocalist, and his performance throughout the album is emotive and powerful. The main riff here has a Black Sabbath-esque quality to it at times, and this vibe continues on through a snaking verse and a choppy pre-chorus - the former of which sees Kennedy operating in his lower register, before he moves through the gears during the pre-chorus. The eventual chorus sees him let rip a little, with some higher-pitched vocals at times, whilst a melodic guitar melody adds a little light to the shade of the rest of the piece. The chorus is similarly mid-paced, but it feels more anthemic overall melody-wise - and the song is the first of many hooky efforts here. The groove of the verses mixed with the hooks of the chorus helps the song to kick things off in a powerful manner - whilst a later chugging instrumental section ups the heaviness further and includes the album's first guitar solo. Guitar soloing is a big part of this album as usual - with both Kennedy and Tremonti getting plenty of opportunity to showcase their abilities. Continuing on in a similar fashion, Rue the Day is another pretty mid-paced hard rocker - with another big riff opening things up. The song feels a bit more stop-start and even more anthemic than the opening cut, though, with plenty of percussive drumming from Phillips during the verses - with Kennedy's vocals and the guitar riffing accenting around the drumming to create a building and somewhat staccato vibe. This jagged vibe is only pushed further during the pre-chorus, which often sees the guitars pause their riffing for effect, before the smooth chorus goes for a full-on old-school Alter Bridge feeling. The sing-a-long chorus could have easily sat on one of the band's earliest albums - and from the off it grabbed hold and has not let go. This is the sort of song I have always loved from the band - and some classic Alter Bridge dynamics are later employed, with a cleaner-sounding bridge and a spacey guitar solo sitting atop a more atmospheric backing. In my view, the somewhat thrashy Power Down completes a great opening trio of songs here - and the faster, heavier song certainly borrows from Tremonti's early solo albums as well as previous rippers like Addicted to Pain. Alter Bridge often sit on the border of hard rock and metal - but songs like this feel much more metallic. The hard-driving verses here are packed with hooky riffs and urgent Kennedy vocals - whilst there are even flourishes of NWOBHM-esque twin lead guitar for a few seconds here and there. The energy whipped up during the verses is infectious, whilst the pace slows down somewhat for another pretty hooky chorus that also sticks in the brain after only a few listens. The way Kennedy somewhat whispers the song's title as the chorus transitions back into the main riff makes the riff only hit harder - and the later high-octane, shredded guitar solo suits the song's metallic vibes.

Trust in Me is a bit of a step down in quality compared to the opening trio - and it is the first of two songs here to feature Tremonti on co-lead vocals. He has tended to sing a song per album of late - but tis two lead vocal contributions this time feel less prominent, which is a bit of a shame. Trust in Me returns to a more mid-paced vibe, with a slightly off-kilter riff backed by some droning guitar leads - which leads into a somewhat murky verse, with a mix of heavy, chugging guitars and atmospheric melodies. The song has an overall strange vibe as a result, dining out on some post-grunge vibes a little, but the sections all feel interesting and fit together nicely. Tremonti's voice is quite prominent during the chorus, which is quite hooky, but Kennedy is still there to back him up - meaning that his rich delivery is less prominent than it can often be. A cleaner bridge section later harks back to the early days of the band - which further diversifies the song's overall vibe, with off-kilter grungy metal and uplifting atmospheric sections sitting nicely side by side. Disregarded is a bit more typical of album's core sound, though, with a Gojira-esque riff kicking things off. This main riff is based around only a couple of notes, but the way the notes are subtly manipulated gives it that left-field Gojira feel. The song is less tech-focused and groovy than Gojira overall, though, but the French band have often felt like an influence on Alter Bridge in recent years - and this song showcases such. There are parts here where the aforementioned riff sits in the background whilst either a more typical driving riff or a flashier guitar lead sits atop it - which gives parts of the song a strange clash of styles which works surprisingly well. Other parts of the song are more typical, though, with strong vocal melodies and more straight ahead riffing - such as the chorus which is another pretty anthemic moment. In some ways the chorus feels a little out of place given how different much of the rest of the song is - but this moment of big melody works nicely given the droning nature of some of the riffing and the bass-heavy feel of other parts. Marshall's bass playing takes the lead later on, creating a deep bridge section that concludes in a guitar solo, with the song, like the previous one, being a real mix of vibes. Tested and Able is the second song here to feature Tremonti more prominently as a vocalist, and it kicks off with another big mid-paced riff that actually reminds me a little of a cold and high-gain sound of the recent Orbit Culture album. Clearly this song soon returns more to a classic Alter Bridge feel, but the guitar sound early on is reminiscent of that Swedish band - even if there is much more warmth elsewhere. Once the verse kicks off, the same guitar pattern is toned down and it sounds more typical of Alter Bridge - whilst the chorus, with Kennedy's warm vocals, is more atmospheric with a good mix of clean guitar backing and background riffing. Tremonti's prominent vocal contributions are left for the second verse, which he delivers with his usual class, whilst the chorus sees the two vocalists singing together for a bigger sound. A slow-burning, yet still relatively busy, guitar solo fills quite a bit of the middle of the song - whilst a slightly more light-hearted melodic guitar pattern following the solo acts as a summery bridge to a final chorus reprise, even though that big opening riff crashes in one last time to see the song close.

What Lies Within is a bit more typical of the recent Alter Bridge sound - and it somewhat returns to the vibe of Silent Divide which opened the album. What Lies Within is perhaps a bit more dynamic overall, though. The opening riff is similarly heavy, with a somewhat doomy mid-paced feel kicking things off. I like how the riff fades in from the distance - with an effects-heavy version of it starting things off before it crashes in properly. The verses are where the dynamism is found, though, with clean guitar melodies and more of a murk present - with Kennedy's voice allowed to dominate as a result. As the chorus is approached, though, the song gets heavier - with a spiky pre-chorus introducing some bigger riffing once more, before the chorus feels much more urgent and fast-paced. There is something more metallic about the chorus, then, which is welcome. Often songs like this are heavier elsewhere and slow down for the chorus, but much of this song feels the other way around. It works well, though, and the chorus is hooky as a result - and this burst of pace is retained for a later guitar solo which is busy and full of shredded motifs. The song is another powerful and pretty anthemic one as a result, then, which is typical of some of the bigger songs on the band's recent albums. Slowing the pace quite considerably next is Hang by a Thread - the album's ballad. Alter Bridge have written quite a few strong ballads over the years, and something more reflective and warm is expected on each album. Perhaps the band's best-known ballad at this point is Watch Over You - and musically this song actually feels quite similar. The similarities are such in places that it must be deliberate - so Hang by a Thread somewhat feels like an unofficial sequel to the 2007 song. Unlike some of the band's ballads, though, this effort is a bit more band-orientated at times. Some of them can feel pretty acoustic-based the whole way through, but this one does rock out in spots - with the whole band making the chorus feel huge. It is a chorus made for the stage, and I can imagine it going down well live, whilst the more low-key verses see Kennedy doing what he does best with an acoustic guitar. Scales Are Falling also opens slowly, but the clean guitar melodies have something of an unsettling vibe from the off. As such, it is clear that this song is not going to be another ballad - with the opening there to set a certain tone before something heavier kicks in. Arrangement-wise, the song is something a bit different. Following the spooky intro, a similar guitar line takes over - but this time with a harder tone, which soon gives way to a mid-paced and fairly hollow verse. There is little big riffing here - with Marshall's bass rumbling away beneath the spiky guitar line and Kennedy's relatively deep vocals. Kennedy does not really push himself vocally throughout the song - and largely sings in a lower register. This works well, though, given the song's strange overall vibe - and even the chorus has a similar overall feel. There is a bit more warmth later, with Kennedy singing against a fuller sound backed by strings - which leads into a laid back guitar solo. The song overall is a bit of a strange one, then, and something which is quite different for the band. It feels fresh as a a result, even if it is not always the hookiest piece - and variety is always welcome.

Playing Aces then sees the band return more to the album's core, heavier sound - with a fast-paced riff kicking things off. Despite the band upping the pace here, the thrashy vibes of Power Down are not really repeated here. The band's more typical groove-based approach is retained instead, and the song soon reveals itself to be another pretty anthemic effort. The fast-paced riffing is still pretty headbang-worthy, and the snappy riff accents during the relatively sparse verses are also metallic - but later portions of the arrangement are much more typical of the band's older sound. The punchy snare drumming in the verses only aids this heaviness, but by the time the pre-chorus rolls around a more melodic approach is taken - with Kennedy really soaring vocally. The main chorus slows things down somewhat, also, and feels typical of the band's anthemic approach. It is another chorus which sticks in the brain pretty easily - so much so that the song is another which is likely to go down well live. This is a feeling which I have about most of the songs here. The album feels closer in tone to some of the band's older works in that regard - and that is likely why I have been enjoying it more than I expected to. Penultimate number What Are You Waiting For, though, feels like a little step down in quality following the recent string of late-album winners - which is a shame. It is certainly not a bad song, but compared to many of the more interesting pieces here it feels a little lacking. It is just a bit more of a bog-standard hard rocker, which feels like some of the less interesting pieces on the band's more recent albums. The chorus, whilst memorable to an extent, just lacks those cutting melodies which the band's best songs have - and the riffing is less potent and powerful. It is just a song which feels like a step down in every regard - and it is likely my least favourite song here. The other songs I have clicked with less here at least generally feel like they are trying something interesting arrangement-wise - but this one feels a little lazy compared to everything else. Given the length of the album, it is a track which could have been left out in my opinion. The closing number Slave to Master picks things up again, though, and the nine minute-plus epic is the band's longest song to date. I am not sure that the band are ever going to replace Blackbird as their signature epic - but Slave to Master is a strong effort, particularly from a guitar playing perspective. This long track opens slowly, with clean guitars and Kennedy's downbeat vocals. The first part of the song is low-key, then, and it remains that way for a little while - setting an atmospheric tone before a brief pause. Following this, the song ramps up in power, with a snappy, heavy riff kicking in. Much of the rest of the song is hard-driving and powerful, then, with juddering riffing at times and a chorus which is pretty anthemic - although not anthemic enough to dethrone Blackbird. The overall pace and heaviness when the song kicks in proper is what makes it strong, though, despite a few cleaner and atmospheric moments returning here and there. Mid-paced groovy riffing sections only up the heaviness further in places - and this makes some later cleaner sections feel much floatier and more effective than they otherwise might. The light and shade balance works well. The heaviness dominates, but the moments of calm are needed to ensure that the heaviness feels as good as it does - but the best is yet to come. The song's last third or so is largely taken by two lengthy guitar solos, with both Kennedy and Tremonti getting to stretch out. This section is easily the best on the album from a guitar playing perspective - and it could well be the best ever from the band. It is a great way to end the album - and overall Alter Bridge has impressed. Production-wise it feels big and clear, unlike some of the band's other recent efforts - and the songwriting is largely quality from start to finish. In time this album might overtake Walk the Sky as my favourite of the band's more recent efforts - and 2026 has certainly got underway nicely with this powerful album.

The album was released on 9th January 2026 via Napalm Records. Below is the band's promotional video for Silent Divide.